Niesamowitość środowiskowa w Sustainable Darkroom

Online First 2026-04-02. Badania stanowiące podstawę niniejszej pracy zostały sfinansowane z grantu Funduszu Badawczego Central Europe Leuven Strategic Alliance (CELSA Research Fund)

The article mobilises the notion of ‘environmental uncanny’, which has been worked out by such scholars as Amitav Ghosh, Rebecca Peterson and Brian Irwin, to apply it to an analysis of contemporary artistic/speculative practices of contemporary image-makers, who conceive of mediation as a geologic process or a multispecies event. Set in the theoretical context of ecomedia the present paper investigates how medial (in this case photographic) practices problematise their on involvement in ecological destruction and pollution. As has been argued in numerous studies, modern practices of image-making not only critically contributed to creating the concept of nature as conquerable and controllable but also, through their carbon footprint and toxicity, have kept significantly exacerbating the current ecological crisis. Therefore, in times of the ongoing climate and environmental emergencies, when feral forms of life proliferate, mediation as a foundation of cohabitation requires a thorough re-thinking and re-design as well. I approach this problem by looking at two projects of artists gathered under the aegis of the UK research collective Sustainable Darkroom - Ed Carr and Scott Hunter - who modify photographic technologies of image-making and invent medial dispositives and techniques of developing images with plants and environmental factors as contributing agents.